A Quote by Ray Walston
I've often wondered, when they've done Of Mice And Men on stage, and I've seen it, how they did that gun thing. I've watched it on stage, but I don't remember it.
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The first time on stage is such a blur to me. I remember how it felt more than anything. I remember everything about the day before I went on stage - what I ate, the first person I met in the club, how I felt beforehand - but the actual being on stage is a total blur.
I have often seen an actor laugh off the stage, but I don't remember ever having seen one weep.
Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
Performing on stage is such a buzz. I've done stupid things such as jump off a building, but I'd never experienced adrenalin like I did on stage.
To this day, to this very day, except for television, I've never had a writer. Anything I've ever done on the stage, happened on the stage and I developed it from there. It started doing impressions and jokes - which I did very poorly. To this day I can't tell a joke. That sounds nuts, but it's true. I exaggerate it and it becomes a joke. Everything I've ever done I've done out on the stage and it became a performance over many many years.
On a film set, everything's done for you. You get to a stage where you can't even remember the last time you made yourself a sandwich. The crazy thing is that, as actors, we're trying to portray the human condition, but we're often not living in reality.
I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."
I have horrible stage fright - you know how you go through the bi-polar stage fright thing? Then you go on drugs to get over the stage fright and perform, but then you're not funny at all.
Ever since I was a kid and watched magicians on stage, like David Copperfield or Siegfried and Roy, I instantly knew how they did everything. In my head, it just all worked.
Robinson did not merely play at center stage. He was center stage; and wherever he walked, center stage moved with him.
When you go on a stage, before you go on a stage you're really scared and you're really frightened. You don't know what to do. "Why did I say yes to this?" But once you're on the stage you think, "Okay."
All I need is one mic
One beat, one stage
One ni%$a frontin' my face on the front page
Only if I had one gun, one girl and one crib
One god to show me how to do things his son did.
We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.
I thought of the people before me who had looked down at the river and gone to sleep beneath it. I wondered about them. I wondered how they had done it--it, the physical act. I simply wondered about the dead because their days had ended and I did not know how I would get through mine.
In the U.K. and Ireland, crowd-work is a big thing. It shows you how funny someone would be if you met them off-stage. Americans don't care if you're funny off-stage. They want to see the writing; they want to see the work you did.
[On Kay Strozzi in The Silent Witness:] Miss Strozzi ... had the temerity to wear as truly horrible a gown as ever I have seen on the American stage. ... Had she not luckily been strangled by a member of the cast while disporting this garment, I should have fought my way to the stage and done her in, myself.
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